ANTIQUE GAMING TABLE, MAHOGANY OVAL PEMBROKE TABLE, WRITING AND WORK TABLE, ANTIQUE SERVING TABLE, REGENCY STYLE MAHOGANY LIBRARY TABLES

A LARGE GEORGE III SEMI-CIRCULAR GAMING TABLE
with a baize-lined interior with six square tapering legs,
4ft. 5in. wide (135cm.) circa 1780.

A PAIR OF GEORGE III SEMI-CIRCULAR MAHOGANY CARD TABLES, the tops crossbanded in satinwood and each with a semi-circular shell medallion, the friezes set with oval paterae and

raised on square tapering legs with castors, 3ft. wide (92cm.) circa 1785, tops split.

A GEORGE III MAHOGANY OVAL PEMBROKE TABLE,
with a satinwood banding and a tulipwood crossbanding,
the curved frieze with a drawer, on square tapering legs
with castors.

A GOOD AND LARGE GEORGE III SERPENTINE FRONTED DINING ROOM SIDE TABLE, the frieze centred by a panel carved with grape swags, raised on six circular tapering legs headed by

leaves and with bands and petals, the front four headed by grape swags, 3ft. 2in. high by 9ft. Vhin. wide by 4ft. deep (96cm. by 278cm. by 122cm.) circa 1785, originally with

brass gallery.

A GEORGE III MAHOGANY ‘D’-SHAPED SIDE TABLE
crossbanded in satinwood and with boxwood and ebony
stringing and a frieze drawer, on square tapering legs
and block feet, 2ft. 5V2in. high by 3ft. wide (75cm. by
91.5cm.) circa 1790.

A PAIR OF GEORGE III MAHOGANY D-SHAPED BREAK-
FRONT CARD TABLES, the hinged top, with a baize-lined
interior, the frieze inlaid with boxwood stringing, on
square tapering legs, 2ft. 5in. high by 3ft. wide (74cm. by
92cm.)

A GEORGE III MAHOGANY WRITING AND WORK
TABLE, with adjustable hinged leather top crossbanded
in kingwood with a slide and a dummy drawer in the
frieze, with a drawer at the side and a work bag, on
square tapering legs, 2ft. 5in. high by lft. Hin. (74cm. by
58.5cm.) circa 1790.

A GEORGE III MAHOGANY WRITING TABLE, the rectangular leather-lined top with outset rounded acanthus leaf-carved corners, the frieze with a pair of opposing drawers, on turned

tapered legs carved with acanthus leaves and a band of drapery, on brass castors, 2ft. 5Vzin. high by 4ft. 2′Mn. wide (75cm. by 128cm.) circa 1790.

AN ATTRACTIVE REGENCY PENWORK WORK TABLE, the top with an oval panel decorated with chinoiserie figures at an al fresco music party, with an anthemion border and flowered

surround, on two pairs of ringed legs with outcurved supports, 2ft. 4Y2in. high by lft. 9in. long (72cm. by 53cm.) circa 1800, originally with a slide.

A LATE GEORGE III OVAL MAHOGANY TABLE, the
top decorated in painted paper with flowers on a cream
ground with a frieze drawer at one side and raised on
slender turned tapering legs with turned X-stretchers,
2ft. 5V2in. high by 2ft. long (74cm. by 61cm.) circa 1800,
drawer now stopped.

A GEORGE III MAHOGANY SIDE TABLE, the rec-
tangular top with rounded corners and a frieze drawer,
on square tapering legs ending in spade feet, 2ft. 4in.
high by 2ft. Win. wide (71cm. by 86cm.) circa 1790,
originally a card table.

A SMALL JAPANESE LACQUER COFFER with domed
lid decorated with panels of flowers and a horse in shades
of gilt on black, lft. wide, late 18th Century/early 19th
Century; now raised on a Regency ebonised Table with
rectangular triple ‘bamboo’ cluster column pillar and
concave triangular platform table, 2ft. 2in. high by lft. 4in.
long (66cm. by 41cm.)

A REGENCY MAHOGANY CARD TABLE with hinged swivelling top, the frieze inlaid with stars and crescent moons, on two pilaster supports and concave base supported by downcurved

sabre legs and castors, 2ft. 5lhin. high by 3ft. zoide (75cm. by 91.5cm.) circa 1820.

A PAIR OF LATE GEORGE III MAHOGANY CARD
TABLES of rectangular form and with rounded corners,
raised on elegant circular tapering legs with shaped
collars and feet, 2ft. lOin. wide (87cm.) circa 1805.

A REGENCY CONCAVE-FRONTED MAHOGANY SERVING TABLE with a boldly reeded edge, the front with string-ing and a central panel applied with a brass anthemion mount, raised on

circular tapering reeded legs, the front two headed by anthemion panels en suite with the frieze panel, 3ft. high by 6ft. 6in. wide (92cm. by 198cm.) circa 1810.

A LATE GEORGE III SEWING TABLE, the rectangular top with a moulded edge and a shallow drawer fitted with divisions above a double long drawer and bag frame, on turned tapering

legs and brass castors, 2ft. 6in. high by lft. lOin. wide (77.5cm. by 56cm.) circa 1810.

A GEORGE IV MAHOGANY PEMBROKE TABLE, the top with rounded corners and crossbanded in satinwood, with two frieze drawers and slender turned legs, lft. 8in. long by 2ft. Vkin.

open (51cm. by 64cm.) circa 1815.

A GEORGE IV OVAL MAHOGANY DINING TABLE, the hinged top with a reeded edge and raised on a turned pillar and four moulded downcurved legs, 3ft. 9′Mn. wide by 4ft. 3in. long

(116cm. by 130cm.) circa 1820.

A GEORGE IV GILTWOOD CENTRE TABLE with
rectangular top, the frieze carved with guilloche and
flowerheads, on heavy cabriole legs carved with
palmettes and flowering branches and ending in paw
feet, 2ft. 6in. high by 3ft. 7in. wide (77cm. by 109cm.)
circa 1820, constructed from a pair of side tables, black
marbletop.

A GEORGE IV MAHOGANY DROP-LEAF TABLE, with
reeded edge and rounded corners and simple turned legs,
3ft. 3in. wide by 4ft. 5in. open (99cm. by 135cm.) circa
1820.

A MAHOGANY SOFA TABLE with canted corners, two dummy and two real drawers, on later ring-turned frame and downcurved legs, 2ft. 4′/2in. high by 5ft. 2V2in. wide (72cm. by

159cm.) part early 19th Century.

A LATE REGENCY MAHOGANY SOFA TABLE, cross-
banded in rosewood and inlaid with boxwood stringing,
with two real and two dummy drawers, on lyre supports
joined by a serpentine stretcher, on downcurved sabre
legs and brass castors, 2ft. 4V2in. high by 5ft. l’Ain, wide
(72cm. by 156cm.) circa 1820.

A PAIR OF REGENCY ROSEWOOD CARD TABLES, the
swivelling baize-lined tops with rounded corners and
inlaid with brass stringing, over the similarly inlaid
frieze centred by a rectangular brass moulded panel, the
simulated rosewood acanthus-leaf carved baluster stem,
brass inlaid and on down-swept legs ending in castors,
circa 1815.

A GEORGE IV MAHOGANY TWO PEDESTAL DINING
TABLE of unusual form, each rectangular end with a
drawer and a flap raised on a turned pillar, the concave-
sided rectangular platform on four canted scrolled legs,
3ft. 5in. wide by 4ft. Hin. fully extended (104cm. by 105cm.)
circa 1820.

A PAIR OF WILLIAM IV ROSEWOOD-VENEERED CARD
TABLES, each swivelling rectangular top with rounded
corners and a burr-yew banding, the friezes and square
pillars outlined with bead mouldings, and raised on a
concave-sided square base with burr-elm scroll feet,
3ft. wide (91cm.) circa 1830.

A GEORGE IV MAHOGANY SOFA TABLE of good
colour, and the top with rounded corners crossbanded
in rosewood with a frieze drawer and a pillar on a concave-
sided rectangular base with hipped cabriole legs, outlined
throughout with narrow bead mouldings, 4ft. TMn. open
(141cm.) circa 1825.

A PAIR OF REGENCY STYLE MAHOGANY LIBRARY TABLES in the manner of Thomas Hope, each baize-lined top with canted corners and hinged bookrest, with three frieze drawers at the

front and back and circular tapering reeded legs with ebonised paw feet headed by metal puma ring handles, 5ft. wide (152cm.).

A REGENCY MAHOGANY SOFA, the moulded frame with over-scrolled ends of equal height, the seatrail set with three diagonally reeded panels raised on sabre legs, 6ft. 4in. long

(193cm.) circa 1820, possibly Scottish.

A WILLIAM IV ROSEWOOD AND MAHOGANY WORK TABLE, the rectangular hinged top with solid gallery and canted corners, above one dummy and one real bead-decorated frieze drawer and an

upholstered work-bag beneath, the acanthus leaf carved end standard supports supported by double eagle head scrolls to a platform support and acanthus leaf-carved eagle heads,

2ft. 5′Mn. high by lft. 9in. wide (75cm. by 53cm.) circa 1835.

A WILLIAM IV ROSEWOOD-VENEERED CARD TABLE,
the swivelling top with rounded corners above a panelled
frieze, raised on a pillar, the leaf-carved base on a concave
rectangular platform and four scroll and paw-carved feet,
2ft. lVhin. wide (90cm.) circa 1825.

A GEORGE I WALNUT KNEEHOLE WRITING TABLE
with a rectangular top, a drawer in the frieze above the
kneehole which contains a shallow drawer and recessed
cupboard, with three drawers in each pedestal, 2ft. 7in.
high by 2ft. 7in. wide (79cm. by 79cm.) circa 1725, top and
bracket feet replaced.

Tripod Table of Mid-Eighteenth Century - A Georgian Mahogany Dumb Waiter - A Papier-Mache Tea Table - Early Nineteenth Century Tripod Table

The tripod table is not strictly speaking derived from the candle stand in our illustration above, but it is possible to trace the influences derived from it. This stand, c.1670, is of walnut, and was made originally for
holding a light. The octagonal top has a moulding round it which is typical of the late seventeenth and early eighteenth century walnut period, and the twist turned stem represents a high degree of technical accomplishment.
A mahogany tripod of mid-eighteenth century  c.1750. The top is dished to give the rim around it, and the plain column is of pleasing simplicity. The mahogany used is of the heavy Cuban variety, very dark in colour.
Note the development of the height of the legs, becoming bolder.
A Chippendale style mahogany tripod table, c.1760. The top shows the `pic-crust’ edging which requires a high degree of craftsmanship, since the whole top is made in one piece. The stem is fluted down to the carved bulbous vase and the legs, with shell and pendant decoration on the knee, end in ball and claw feet. Note the scroll on the inside of the knee of the leg. One of the most ornate and decorated examples of this type.
A walnut stand of the early eighteenth century. The octagonal top ,again has the moulded edge of the period and is veneered in figured walnut base of the stand is now lifted off the floor by the three curved feet of
square section.
A Mahogany tripod table of c.1760 with a ‘bird-cage’ gallery beneath the top. The pillar is a fine simple form and the bold set of the legs is typical of the better and earlier Georgian tripods. The use of the gallery
construction ensures that the top can both tip up when not in use, and yet revolve when in the position shown. A wedge locks the top and gallery to the column, so that the removal of this wedge enables the whole top to be lifted off the base.
The best quality pieces have a top made from a single piece which preferably is dished to leave a moulded or ‘pie-crust’ carved edge (see Reference No. TT1383). The example above has a plain top but made from a
single beautifully figured piece of mahogany. Originally used for tea or supper and for setting out the new china tea services.
Another tripod mahogany table of c.1790, with similar stem, but the legs now flattening in curve slightly. The rounded curves are modified by the chamfered edges and more pointed design.
Tripod table of c.1790, with baluster turned stem and chamfered legs.
Tripod mahogany table, c.1790, of larger dimensions  the top approximately two feet, nine inches in diameter. Note the spirally fluted vase at the base of the tapering column stem. Until recently these were more difficult to sell, being too large for occasional or wine table use. Now they are rising in price and being used as tea tables or small dining tables.
A Georgian mahogany dumb waiter of c.1770, with finely crusted carved edge to each tier, and well-balanced pillar and vase shapes to the stem. Note the casters under the feet; a feature often found on dumb waiters
since they were, of course, designed for movement like Canterburys.
Typical eighteenth century tripod table in mahogany, probably dating from 1760 - 80. The legs have now become almost aggressively higher and bolder in curve. The tapering column has the bulbous vase at the base.
Late Georgian mahogany dumb waiter of c.1790, in which the upper tiers are of the folding flap type. Dumb waiters were used from the early eighteenth century onwards and were generally placed near a table so that
guests could help themselves without the need for servants to stand in attendance. Sheraton includes them in his Cabinet Dictionary but the designs are rather complicated.
Value points: Elegance of tripod base
Fruitwood tripod table, twenty-seven inches in diameter, c.1800. Note the rather abbreviated feet and the fact that it has been necessary to use several planks to make the top, due to the lack of width in fruitwood
trees.
Early nineteenth century country tripod table in mahogany, c.1820. The legs are in the reverse type of curve, but the stem shows the rather bulbous turning that heralds the Victorian period.
Early nineteenth century tripod table with rectangular top, c.1840, of a type expanded in size to produce a breakfast table. This smaller size could be used as a supper table and, being of the tip-up type, was useful in smaller rooms. The wood is generally mahogany and the legs and stem exhibit the same characteristics as dining tables of the period.
Yew wood tripod table, c.1800. The legs are better proportioned than the fruitwood example, although they show the steep outer curve of the later period. The top again is several planks, but yew is a wood which is
always more highly valued.
mahogany of c.1840, with hexagonal column. The top is A
veneered in plain mahogany on pine, but the column is solid. The tripod base has now become a flat one like others of the period, without legs and raised on turned knob feet.
A papier-mache tea table of c.1850, japanned and painted and with mother of pearl inlay. The baluster turning of the column is fairly typical and although this example has taken a list to starboard, some idea of the decorative value can be obtained. The outer painted decoration and that on the column and base, now faded, were originally gilt.
A cricket table. There are various theories as to why they are so-called, but it is most probable that they were used in village pubs on the green, where one could sit watching the game. They were made in oak or elm, from the eighteenth century onwards.
Later nineteenth century version of the tripod table  c.1860. The tripod legs have actually vanished and all that remains is the triangular shaped flat base with its three turned feet. The stem is now thoroughly overturned with far too many bulbs and vases.

A Mahogany Gate-Leg Drop-Flap Table - A Mahogany Dining Table - A Regency Period Rosewood Circular Table - A Mahogany Late Victorian Dining Table

A mahogany gate-leg drop-flap table of c.1770. The ‘Chippendale’influence has produced the square section legs chamfered down the back edge. The wood is still a rather heavy Cuban mahogany with good figure, now
rather faded. There are still no drawers in this table which is a pleasingly simple design. The majority available are suitable for seating six people but, occasionally, larger versions are to be found. Again these tables are subject to damage at the rule joints due to dislocation of the hinges and one should look for patching at the top and flap edges at the joining edge.
A fine mahogany dining table of c.1800 on turned columns each with three curved legs. The sweep of the latter from the central column out to the brass casters is particularly elegant. On such tables the centre section is generally bolted to the end pieces.
Regency period dining table, c.1820, in mahogany on two turned columns each supported by three curved legs. The shaping of the turning on the columns suggests a later part of the period, as do the legs, but the top is reeded round the edge and light in appearance.
Elegance of columns  Lightness of design
A mahogany dining table of c.1790 consisting of two ‘D’ ends with a single leaf supported between them. This was one of the most common forms of dining table and in many cases could be further extended by some patent or ingenious means. The example above shows square tapering legs ending in spade feet. The top edge is reeded and there is a stringing line around the bottom edge of the frieze but otherwise this is a very simple example on which the legs are perhaps a bit heavy. Many of these tables have been broken up to form two ‘D’ tables for hall or console use.
Decorative, cross-banded, inlaid examples. Decorative woods and inlays …
A Regency period dining table, c.1815 apron frieze under the two end sections on two columns, again each supported by three elegantly curved legs. The tends to add weight to the overall effect and breaks the line.
Value points: Elegance of columns  Lightness of design  Seating capacity 4  6  8  12
Regency period breakfast table in mahogany, cross-banded with kingwood, c.1825. The octagonal column is on a platform supported by unusual curved and shaped legs ending in brass paw casters. The spur shape on
the knee of the legs is particularly unpleasant.
A mahogany breakfast table of Regency design, c.1830. Like all breakfast tables this one is designed to tip up and can thus be put to one side after use. The top is a single piece of mahogany of a size capable of seating six people and has an inlaid black stringing line inset two inches from the edge, which is reeded. The point of a single-piece top is important, for tops made from two pieces tend to separate over the years, and it is often difficult to re-glue and cramp the halves together again successfully.
The base shows the departure from restrained Georgian forms to scroll-like knee pieces of concentrically ringed effect. Generally a heavy ‘knee’ like this indicates Regency or later periods.
The example here is a fairly simple one without the cross-banding or inlays of more exotic versions. At present price ranges are fairly wide for these tables which are clearly appreciated for their excellent use as a
dining table.
Curl or figured woods
A Regency period rosewood circular table of c.1830. The top is veneered in highly figured rosewood with a broad decorative brass inlaid edge banding. An apron or frieze, cross-banded in rosewood beneath the top
adds weight and proportion to it. The triangular base supports the curved triangular column which also includes a brass stringing line and exhibits a bead mould at the base joint. The base is on spur sabre-type legs endingin brass paw casters. Altogether a high quality example.
Large Regency period dining table, c.1835, of extendable type with leaves which are inserted in the centre section to provide greater seating capacity. A type of table now somewhat reserved for board rooms and public banqueting halls but which nevertheless follows the development of the earlier Georgian type with two ‘D’ ends between which leaves could be inserted, This table would seat approximately twenty people. The legs are spirally reeled. N.B. It is interesting to note that ten years ago such tables were hard to sell and often cut up for the good quality wood of which they were made.
A Regency period rosewood circular dining table of c.1825. The top is veneered in figured rosewood and the centre pedestal is geometrical in section. The rather heavy but simplified base is typical of this type of table
which has increased greatly in popularity and price in the last two years. Usually these tables are of the tip-up type.
An early Victorian  c.1850  circular dining table of a type found in both mahogany and burr walnut veneer. The tripod carved base with its leaf, scroll and paw foot carving shows great exuberance and quality of
execution, even though our artist’s lack of serious feeling for the period has given the impression that the piece is on its way to the chiropodist’s. It is an example of good Victorian cabinet work.
A mahogany late Victorian dining table with the heavy underframe and ponderously turned bulbous legs. The top is usually made of two or three leaves and the table can be of the extending type. Note that the edge
moulding has become rather over-emphasized.
Quality of leg turning  Figured woods
A late Victorian or Edwardian mahogany dining table, c.1870 onwards. The square cornered influence of the late nineteenth century gives rise to a mixture of designs which wholly fail to blend.
Value points: Mahogany
Examples are frequently to be found in oak and American walnut.

Oak Table of Refectory Type - Late Seventeenth Century Oak Gate-Leg Table - George I Period Mahogany Drop-Leaf Gate-Leg Dining Table

An early oak table of refectory type, c.1600. The large turned legs are connected almost at floor level with heavy stretchers. The main under frame is tenoned into the square tops of the legs and the table top consists of three or four massive oak planks. The main under frame provided a frieze for decoration and was often richly carved. The top was held in position either by under battens or oak dowels driven through the top into the under frame.
Depending on decoration and size. Larger tables are in the higher range.
A slightly more developed small oak table of the early seventeenth century, c.1630. The turned legs are less bulbous than those seen on earlier tables and the frieze provided by the under frame is panelled, to allow for
decoration. The fluting of the legs started to replace the bulb type in late Jacobean times and remained in use until after the Restoration.
Quality of carving and reeding of legs.
Mid-seventeenth century oak table  c.1650 - with column turned legs, (sometimes called gunbarrel type). The floor-level stretchers are still evident and the top is made of three thick solid planks. The frieze is quite
plain.
Late seventeenth century oak gate-leg table  c.1690  of fairly small dimensions, which could seat four people. Note the bun-shaped feet and the more developed turning of the legs.
Value points: Quality of turning on legs.
Size:  again larger tables to seat more people gain value probably following:- 6 people,8 people,12 people.
N.B. This criterion does not apply to very small gate-leg tables for side use, which command a high premium.
George III period oak gate-leg table with tapering legs ending in pad feet, c.1765. A type of table made for a considerable period throughout the mid and late eighteenth century. This example is exceptional in size and
therefore the centre section is particularly wide.
George I period mahogany drop-leaf gate-leg dining table, c.1725. The scrolled cabriole legs show the hoof foot with which the cabriole leg was originally associated, being derived from an animal form. Tables of this
type, with less refined form of leg, leading to the square ‘Chippendale’ type as with chair development, continued to be made well on towards the end of the eighteenth century.
Small oak gate-leg table of c.1670, with column turned legs but ending in square feet with a slight outward splay instead of the turned feet of our other examples. This is a simple table with plain, square section
stretchers between the legs. The joint between the flaps and centre section is of the tongued and grooved type which was superseded in the eighteenth century by the rule joint.
George III period square drop-flap mahogany gate-leg table, c.1760, with scrolled cabriole legs ending in ball and claw feet. The moulded edge of the table top is unusual and is similar to that found on some Victorian tables, with the exception that this is bolder but still detracts from the appearance.
Mid-Georgian drop-leaf table in mahogany of the gate-leg type, c.1760. The solid mahogany tapering legs end in pad feet. The main frame was often made from pine or else from oak and the centre flap secured to it by screws let in at an angle from underneath. A particular weakness with these tables is at the ends of the rule joints between flaps and centre, where part of the joint tends to split off. They make useful dining tables for the small modern home, since they can be folded away but their one defect is that of all gate-leg tables; there tend to be too many legs under the table when in use.
Late seventeenth century gate-leg table in walnut, c.1690. Note the unusual features of turned stretchers and different turning of gates and centre section legs.

Mahogany Pembroke Table - Mahogany Writing Table - Regency Period Dining Table - Mahogany Library Table

A Thomas Sheraton mahogany Pembroke table, the top cross banded with herringbone bands of kingwood, with a rising ‘Harlequin’ section with a fall-front inlaid with ribboned festoons of flowers in scorched and green fruitwood, in the manner of Pierre Langlois, the frieze with a drawer either side and simulated drawers, on square tapering panelled legs.
The design for this ‘Harlequin Pembroke Table’ was published by Thomas Sheraton as plate LVI in his ‘Drawing Book’ (1791-94). In his notes he describes such table as “serving not only as a breakfast, but also as a writing table, very suitable for a lady. It is termed a Harlequin Table, for no other reason but because, in exhibitions of that sort, there is generally a great deal of machinery introduced in the scenery”. This type was also illustrated in Hepplewhite’s Guide.
This table is of further interest in that the ’till’ is inlaid with a floral garland, knotted with a ribbon-tie, in a marquetry of many woods. This is reminiscent of the highly distinctive style of inlay favoured by the emigrant French ebeniste, Pierre Langlois.
A Sheraton mahogany Pembroke table of c. 1810, The square tapering legs have given way to the centre pedestal, the pillar of which is fluted. The four sabre style legs which support the platform at the pillar base have typical later Georgian and Regency brass casters of decorative style. The top is veneered in highly figured mahogany and cross banded with satinwood, which is used for the inlaid decoration also.
Value points: Inlaid decoration of high quality
Good quality Pembroke table in mahogany with cross banded top edge. The tapering legs end in elegant brass casters.
Value points: Cross banding of top  Circular or oval shape
Later Georgian period mahogany writing table on turned legs with casters beneath.
A fine quality late 18th century sofa table in mahogany and satinwood. The end supports, curving elegantly out from the vertical to end in brass casters, are particularly noteworthy.
Regency period dining table in mahogany on two turned columns each supported by three curved legs. The shaping of the turning on the columns suggests a later part of the period, as do the legs, but the top is reeded round the edge and light in appearance.
Elegance of columns  Lightness of design  Seating capacity 4  6  8  12
Sofa tables are similar to the Pembroke table with the exception that the extending flaps are at the end instead of the sides. They seem to have become popular at about the same time as the Pembroke. The normal dimensions, referred to by Sheraton, “are generally between five and six feet long and from 22 inches to two feet broad”. The most serviceable type have two drawers and they were frequently used to write, draw or read upon. A variety of designs were used.
The example above is of c. 1805 date and has brass mounts and stringing. The inward curving legs are reeded. Rosewood and zebra wood were used for the higher quality examples as well as mahogany. The addition of brass stringing or more detailed inlay in brass adds considerably to value.
Value points: Exotic woods and inlays
A Regency period dining table on two columns, again each supported by three elegantly curved legs. The apron frieze under the two end sections tends to add weight to the overall effect and breaks the line.
Value points: Elegance of columns  Lightness of design  Seating capacity 4  6  8  12
Mahogany Sofa Table of later Georgian period. The reeded curved legs on the end supports terminate in brass paw casters.
Regency sofa table in mahogany with lyre-shaped end supports. The top edge is moulded as well as cross banded.
Note. The existence or hint of the lyre motif in any form inexplicably pushes prices to the top of the range.
Regency mahogany library or writing table. A derivation in some ways of the sofa table. The end supports show in their design the influence of the lyre motif.
Regency sofa table with gadrooned top edge. The curving splayed legs on the send supports are reeded.
Sofa Table of slightly later date c. 1810 with turned supports in conjunction with inward curving legs. This form of centre support is to be found on card and other tables of the period.
Regency period breakfast table in mahogany, cross banded with kingwood. The octagonal column is on a platform supported by unusual curved and shaped legs ending in brass paw casters. The spur shape on the knee of the legs is particularly unpleasant.
Value points: Seating capacity 6  8 …
Regency rosewood sofa table ,the top and flaps cross banded in satinwood. The stringing which can be seen round the drawer fronts is of brass, and brass stringing is also used on the top and in the unusual curving
support and base. The table when extended is five feet long.
Regency period mahogany card table on turned centre column. The hinged folding top pivots on the frame which forms the frieze to provide support when open.
Regency mahogany library or ‘rent’ table with leather-covered top. A type introduced in George III’s reign which Was made on into the 19th century, sometimes with an octagonal top. Used sometimes on estates where the relevant documents were kept in the drawers; hence the popular term ‘rent table’.
A Regency rosewood and Coromandel console table with marble top. Originally made to accompany pier glasses, console tables were made uniquely for side use and in the early 18th century types were of highly
baroque decoration. The classical revival of the later 18th century produced console and side tables of prevailing fashions and both Sheraton and Hepplewhite illustrated examples. They were largely for the decoration of more important houses.

TABLES  dining, Georgian extending
The limitations of the gateleg table are obvious; its size cannot be above a certain dimension and the legs get in the way of the diner. The George III D-end table resolved the first problem, although not always the second.
The concept of the D-end table is ingenious enough. The two D-ends, each of four legs, can be put together to form a circular or oval table of convenient small size, even if it thus has eight legs. To extend the table by means of inserting rectangular solid leaves is not too difficult, since the ends are stable and only the extra support leg need be inserted.
More ingenious. The D-ends have between them a rectangular gateleg table which can be closed or progressively opened to provide two D-end tables, which either can be separately set against a wall or used together to make an oval table and, at the same time, a gateleg table. With the two flaps down a slightly longer oval table can be made, which in turn can be progressively increased to the full width shown. A good quality piece with stringing lines and double gates to the drop-leaf table.
Shows two half-circular tables joined together. The legs are reeded overall and fluted for the top one-third, ending in well-shaped blocks. The two inner legs on each half move into the centre to support additional leaves when required. The price will depend on the number that can be seated. c. 1780
Not as good as the previous example and in need of repolishing. Here the four legs of the table are fixed but the single centre leaf is easily supported by them.
A large table which shows the back legs of the D-ends moved out to their support positions when opened. The reeded legs are of late Georgian design and the reeding round the end is typical. A good, solid table. c. 1810
This table operates on the same principle as 755, and has the same double gates to the centre table. The Victorian moulding to the edge of the table
and the multiplicity of reeded legs (though these are more readily accepted than five years ago) do not make this an attractive design.
The square ends of this and the next table are less valued than the round ends of 756. c. 1820s
A design in which a series of telescopic interlinked frames allow the table to be opened and closed while the two centre legs remain in place. Some variations have an inset centre leg; later only two legs at each end remained and these tables often sag to the considerable loss of value. Note the legs are fattening up into the gouty Victorian tables.

TABLES - dining, mahogany gateleg, Chippendale and after
When one considers the revolution in design of chairs associated with the name of Chippendale, it is amazing that he never mentioned dining tables in his trade catalogues. His firm made gatelegs with D-ends among other complicated tables discussed in the next section but, perhaps justifiably, his name must be linked with the low point of eighteenth century dining table design.
A small rectangular mahogany table with standard pad feet. A more modest example of the product in mahogany. Made well into the Chippendale period and so included here.
Shows a good quality example of a large double-gateleg mahogany table with moulded square section legs. Although somewhat severe by earlier standards, it is still a fine piece of dark Cuban wood. Colour very important. c. 1765
What is known as a ‘wakes’ table due to its long thin shape on which, by legend, the coffin was rested before the funeral service and on which, after the interment, the festivities took place. As our social customs no longer work in this manner, it is perhaps odd that they are hugely reproduced and faked. This example shows the figure in the rich dark wood. c. 1770
A much simpler, straightforward George III square-leg rectangular table. It looks very similar to the centregateleg table in the gateleg and two D-ends combination, see next section. It is interesting that this design, with the ends just slightly rounded, was still available from W. Smee & Sons in 1850.
A faithful country copy in burr elm which, as can be seen in 750, can, with good patination, be almost as fine as any wood. Small, so not expensive.
There were, however, some interesting country tables which can be very attractive and two variations are shown below.
Four seater as shown $600-850 However, if eight seater and glorious colour $3,000 4,000
A small square single flap dining table in solid burr elm with very fine patination and superb grain. Top quality veneers were cut from such wood. c. 1765
Slightly out of the mainstream, a corner or, in American, handkerchief table which opens up to form a square. They are rather unbalanced if the wood is heavy because of the weight of the front flap and, perhaps because of this, are not popular unless a lot smaller than this one.
A small George III mahogany spider-leg table, suitable for less important meals like breakfast. They can be extremely elegant and because of this were reproduced extensively in Edwardian times and some can now look convincingly old.

TABLES  dining, mahogany gateleg, shaped foot, 1735-1760
Just as the stretchers disappeared from chairs in the early part of the eighteenth century, so mahogany dining tables rid themselves of stretchers at much the same time. Perhaps it was the strength of mahogany or simply the desire to refine. Whatever the reason, some superb tables emerged. Good quality examples are perhaps current738 (opposite page, top left) Elegant use of the pied-debiche foot from which the cabriole originated, decorated with the ram’s head. The cabriole is beautifully executed. The top pieces, each
of one plank, are without warp or twist. The rule joints are in immaculate condition. Heavy Cuban mahogany at its best.
Another example with pied-de-biche foot and the little projection behind it, but with a simple decoration on the knee and a small scroll either side. The top has the same thumb-nail mould but each flap is made up of two planks. All features which, together with smaller size, reduce the price. c. 1740
Conventional cabrioles with ball-and-claw again. Well executed but looking almost clumsy against 738. In fact by itself an elegant table. A walnut style carried on into mahogany. 1730-1740
Without the panache of 738, but undeniably elegant in dark, almost figureless Cuban or Spanish mahogany. These pieces are enduringly made and, when this book was first written in 1978, were undervalued, but the price has since doubled. Shown both closed and open to make the point that such a table fulfils the dual purpose of elegant side table and comfortable dining table for four to six people. Appears to have glorious patination.
With gently curved cabrioles, which like the previous example have a simple C scroll at the top, this table could be walnut period but is in fact mahogany. The moulding is slightly unusual with only a very shallow depression and a very wide flat curve almost like a Victorian slope. Rectangular flaps are not as popular as oval. c. 1750
The more simple pad foot version on a straight leg of tapering circular section which, in comparison with 741, gives the unfortunate impression that the weight of the flap is proving exhausting. Nevertheless, very English in concept and clearly related to its country cousin in oak.
Quite literally the oak version of 743. Interesting to see the heavy structure beneath as though the maker would have preferred the old oak method. c. 1760

TABLES  dining, refectory
Oak tables of the seventeenth century, with their rectangular boarded tops, are now generically referred to by their Victorian title of refectory tables. They evolved from trestle-supported boards, and developed into more sophisticated bulbous-legged tables and draw tables (tables with second leaves under, which pulled out to extend the table) in the sixteenth and seventeenth centuries. These bulbous-legged tables became more refined as the seventeenth century wore on and from about 1650 onwards more types of table became available, starting with the gateleg.
There are two schools of thought about the smaller type one commonly sees today. The first says that they were side tables, hence the decoration on the frieze is seen on one side only. The second suggests that they were on a raised dais with the decoration and the V.I.Ps who dined at the table facing those at lower tables. When one thinks back to the wainscot chair section and the throne concept, the second line of thinking rings true. For practical entertaining purposes tables less than 2ft.6ins. wide should be avoided as they
break up even the smallest dinner party.
Refectory tables sometimes acquire new tops and it is essential to check for signs of age on each, though new end cleats are perfectly acceptable. The bases should be slightly stained or a little rotted, where damp and stone floors have taken their toll. Refectory tables have been widely faked and reproduced.
The original gateleg tables were fairly crude and simple, with column turning of the legs. Later ones developed more elaborate and decorative turning, including the stretchers.
The gateleg form continued to be used with variation, through the eighteenth and nineteenth centuries, incorporating the stylistic features of the oak, walnut, mahogany and other periods. Early oak gateleg tables had the top held on by wooden pegs, but in later tables the top is screwed on from underneath.
The disadvantage of the gateleg is that its legs tend to be in the way of those seated at it and in the Georgian period a popular table was the D-end, connected by essentially one or more drop-flap tables which could be used to lengthen it. This, however, had the same disadvantage as the gateleg table, in that there were still a lot of legs to avoid and so the centre pedestal table, with one or more pedestals, came into being. These pedestal dining tables have remained popular ever since, for they can accommodate varying
numbers of people without legs getting in the way.
Refectory tables are now really rather a rich man’s affair, which is not surprising if you look at this example, which is mid-seventeenth century with elaborately carved bulbous legs and massive construction, needing the right type of room to set it off. It has a good old-looking top. As always there should be plenty of patination  caused by greasy fingers  on the underside stopping sharply where the frame meets the top. Stretchers open to doubt because they should come flush with legs, not be inset as here.
A good 9ft. oak example with six-column cannon (or sometimes gun barrel) turnings to the legs. Carving of lunettes along the frieze. The stretchers look a trifle thin compared with other examples shown. The fewer planks used to make up the top of a refectory table, the better. If in walnut with a good colour, add about 3,000. c. 1640
The vase-shaped turning suggests a date in the very early eighteenth century. Just under Eft long, this is a very pretty little oak table in which you can see the age on the stretchers, a mixture of rot and wear showing an irregular effect, not the smooth simulated wear of the fake. c.1720
Not really a refectory table at all  it is a farm table of a type which has become very popular for country kitchens and dining rooms, but its provenance is clear from the previous illustrations. These tables were made in oak, elm, pine and country woods throughout the eighteenth and into the nineteenth centuries until the turned leg was imposed on them.
When buying, do make sure that your favourite dining chair will allow you to sit at the table as the frieze is sometimes too low. Price will be increased by fruitwood with a good glowing colour, hence the wide price range. Late 18th century